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Sherlock smiles humourlessly while putting his cup back onto the tray.) JIM: Oh, that’s clever that’s very clever awfully clever. (Sherlock puts his cup into its saucer and shrugs.) JIM (still drumming his fingers): How hard do you find it, having to say “I don’t know”? Sherlock’s eyes lower to watch the movement.) Putting his hand onto his knee, he starts idly drumming his fingers. (He takes another sip of tea and then puts the cup down into the saucer. (Sherlock has taken a sip of his tea and looks across his cup to the other man.) JIM (softly): Oh, that’s the problem – the final problem. In a perhaps unconscious mimicking of the man seated opposite him, he too has his cup lifted close to his mouth.) (By now Sherlock has unbuttoned his jacket and sat down in John’s chair. At 221B, Jim lifts his teacup to his mouth again.)
#THE TEAPOT SCHENE THE OFFICE SCRIPT TV#
(The foreman stares at the TV screen in horror. and every person has their pressure point someone that they want to protect from harm. A message in red above the photograph reads, “IF YOU WANT YOUR BEAUTIFUL CHILDREN TO STAY BEAUTIFUL THEN FOLLOW MY INSTRUCTIONS”.) The information underneath instantly changes to a photograph of two young children and a baby. At the top of the page the message reads “Hello Ms Williams”. (Close-up of the TV screen showing the Westhampton Hotel’s Information Service. JIM (voiceover): Every hotel bedroom has a personalised TV screen. (Flashback to the foreman of the jury in her hotel room sitting on the side of the bed and looking at her TV screen.) JIM: I got into the Tower of London you think I can’t worm my way into twelve hotel rooms? (He sips his tea as Sherlock picks up his own cup and stirs his drink.) Because we’re just alike, you and I – except you’re boring. Sherlock turns away and adds milk to his own cup.) (He gazes up into Sherlock’s eyes, smiling.) Every fairytale needs a good old-fashioned villain.
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(He picks up one of the teacups, adds a splash of milk and turns and offers the cup to Jim, who sits up straighter and takes it.) JIM: But be honest: you’re just a tiny bit pleased. JIM: Couldn’t cope with an unfinished melody. and the dying man jumped out of his bed, ran straight to the piano and finished it. The boy stopped before he got to the end. JIM: You know when he was on his death bed, Bach, he heard his son at the piano playing one of his pieces. Jim takes out a small penknife and starts to cut into the apple while Sherlock puts down the violin and begins to pour tea into the cups.) Jim immediately walks over to Sherlock’s chair and sits in that one instead. (He gestures with the end of his bow towards John’s chair. (Tossing the apple and catching it, he looks around the living room as if searching for a seat.) (Jim walks further into the room and bends to pick up an apple from the bowl on the coffee table.) (He gestures over his shoulder with his bow towards the table.) (He shrugs.) But then you’re not most people, I suppose. Sherlock, standing with his back to the living room door, keeps playing until Jim pushes open the door, then he stops but doesn’t yet turn around.) A couple of seconds later Sherlock resumes from a few notes before where he stopped and Jim starts to climb the stairs again. Partway up, one of the stairs creaks noisily and Jim pauses for a moment, as does Sherlock’s playing. Jim’s easily-recognisable shadow precedes him as he slowly walks along the hall and up the stairs. 1 in G minor, downstairs the front door is expertly lockpicked and pushed open. The kettle comes to the boil and switches off and Sherlock, now wearing a jacket in place of the dressing gown, makes the tea and takes the tray to the table beside John’s chair, then walks over to his own chair and picks up his violin and bow. In the kitchen he switches on the kettle and slams down a small tray beside it, putting a jug of milk, a sugar bowl, a teapot and two cups and saucers with teaspoons onto the tray. (Sherlock switches off the phone and gets up off the sofa. Outside the court, John is hurrying along the pavement.
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Return to part 1 / Go straight to part 3 / Go straight to part 4Īt 221B, Sherlock’s phone begins to ring. Polite request: If you take extracts from this transcript for use elsewhere, and especially if you repost my own words, it would be kind if you would acknowledge the source and/or give a link back to this transcript. Transcript by Ariane DeVere aka Callie Sullivan. Sherlock, Season 2, episode 3 transcript: The Reichenbach Fall, part 2